Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art

Alashari, Duaa Mohammed; Hamzah, Abd.Rahman; Marni, Nurazmallail

doi:10.11113/umran2019.6n3.342

Cited by 5 publications

(4 citation statements)

References 5 publications

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“…Syikasteh Amiz, on the other hand, was employed for royal and business tasks. This style of calligraphy is wider and less dense compared to Syikasteh and is typically written on ornamental and colored paper (Alashari et al, 2019;Amani & Drav, 2021). Meanwhile, Diwani was used for writing administrative purposes in the offices of the Ottoman Empire, while Diwani Jali was solely used for decoration (Amrulloh et al, 2022).…”

Section: Implications Of the Development Of Ottoman Turkish Calligraphymentioning

confidence: 99%

History of Islamic Calligraphy in the Ottoman Empire

Fawzani,

Sulaeman,

Mizan

et al. 2023

Fajar Hist. J. Ilmu Sej. dan Pendidik.

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The history of Islamic civilization during the Ottoman Empire (1299-1922 AD) is important to study because the Ottoman Empire was the largest Islamic Daulah and ruled for a long time throughout history. The purpose of this writing is to understand three main aspects: firstly, to comprehend the development of calligraphy art during the Ottoman Empire era; secondly, to explore the factors contributing to the advancement of calligraphy art; and thirdly, to analyze the implications of this progress. The research method employed in this study is the historical method. The sources used in this research consist of books and journals related to the history of the Ottoman Empire. This writing resulted in three things. First, the form of Ottoman Empire calligraphy in the form of Al-Qur'an writing, ornaments on religious buildings, and the establishment of a calligraphy school. Second, the factors for the advancement of calligraphy are religious enthusiasm, support from leaders, and love for calligraphy. Third, the implications of the art of calligraphy are the emergence of a new style of calligraphy, Istanbul being the center of Islamic calligraphy, and calligraphy can be used as a medium for learning mathematics. The research is expected to contribute to the implementation of the art of calligraphy as a worldly reflection on the word and to contribute thoughts to the development of Islamic calligraphy.Sejarah peradaban Islam pada masa Turki Usmani (1299 M-1922 M) sangat penting untuk dikaji karena Turki Usmani merupakan Daulah Islam terbesar dan cukup lama berkuasa sepanjang sejarah. Tujuan tulisan ini bertujuan untuk memahami tiga hal yaitu ingin memahami perkembangan bentuk seni kaligrafi pada era Turki Usmani, faktor penyebab kemajuan seni kaligrafi dan implikasi kemajuan seni kaligrafi. Metode penelitian yang digunakan dalam studi ini adalah metode historis. Sumber-sumber yang digunakan dalam penelitian ini adalah buku dan jurnal yang berkaitan dengan penelitian sejarah Kekaisaran Utsmaniyah. Tulisan ini menghasilkan tiga hal, Pertama, wujud kaligrafi Turki Usmani berupa penulisan Al-Qur’an, ornamen pada bangunan keagamaan, dan didirikannya sekolah kaligrafi. Kedua, faktor kemajuan kaligrafi yaitu semangat keagamaan, dukungan dari pemimpin, dan kecintaan terhadap kaligrafi. Ketiga, implikasi seni kaligrafi yaitu munculnya gaya baru kaligrafi, Istanbul menjadi pusat kaligrafi Islam, kaligrafi dapat digunakan sebagai media pembelajaran matematika. Penelitian diharapkan dapat memberikan kontribusi dalam pengimplementasian seni kaligrafi sebagai refleksi duniawi atas firman serta memberikan sumbangan pemikiran dalam pengembangan kaligrafi Islam.

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Section: Implications Of the Development Of Ottoman Turkish Calligraphymentioning

confidence: 99%

History of Islamic Calligraphy in the Ottoman Empire

Fawzani,

Sulaeman,

Mizan

et al. 2023

Fajar Hist. J. Ilmu Sej. dan Pendidik.

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“…The term art in Islamic art is aimed more at the field of fine arts produced in the golden age of Islam, including architecture, calligraphy, arabesque, illumination, miniature, textiles, glass art, and geometric ornaments that later became the hallmark of Islamic decoration (Dabbour, 2012;Bonner, 2017;Majeed, 2020;Hana'a et al, 2023). All these fields have developed in the Middle East region from the seventh to the end of the ninth century, which explains the geographical scope that includes many countries (Alashari et al, 2019). With a broad scope but not representative of all Islamic art trends in each region, Islamic art is often identified with Arabic art (Canby, 2005;Nurrohim & Setyorini, 2018).…”

Section: Islamic Artmentioning

confidence: 99%

Between Ethics and Aesthetics: A Curation Method for Contemporary Islamic Paintings in Indonesia

2023

ISVS

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This research explores the curation methods of contemporary Islamic painting in Indonesia, which lies in the midst of ethics and aesthetics. The emergence of this art as a phenomenon is rooted in Indonesia's post-colonial history and the establishment of academic art colleges with diverse cultural structures. The research creates a curation method that combines ethical and aesthetic elements in contemporary Indonesian Islamic painting.To investigate this, a qualitative descriptive method approach was used. Qualitative data was collected through in-depth interviews with artists and Islamic art curators, focusing on their curatorial philosophies and strategies. At the same time, a descriptive approach was employed through curatorial and content analysis of contemporary Indonesian Islamic painting exhibitions.The findings show that curators must balance the ethical foundation of creating art by Islamic law and embracing the evolving aesthetic concepts of contemporary painting. Curators use curatorial tools such as thematic arrangement, contextualization, and viewer segmentation to achieve this balance. Moreover, the curators emphasize the importance of curatorial reflexivity, in which the theme, form, and style of an artist's work are critically examined to ensure impartiality.The paper concludes that each exhibition can be classified into three main themes: calligraphic, representational, and nonrepresentational. These three main themes have been first used in the Fine Arts Exhibition of Istiqlal Festival II in 1995, which then have continued to evolve in terms of theme, form, and style according to the context in which the exhibition was held. This shows that the aesthetic value of a painting is constantly changing while still meeting the ethical boundaries of creation according to Islamic law. Thus, the method of curating contemporary Islamic paintings will continue to adapt to the conditions of the times.

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“…It is also characterized by ease and clarity. The line of Riq'ah is simple, easy to write, read, and not complex [15].…”

Section: The Concepts Of Arabic Calligraphy Learning In the Online Khat Learning Communitymentioning

confidence: 99%

Technology-Based Arabic Calligraphy Learning in a New Era

Anshory¹

2021

Advances in Social Science, Education and Humanities Research

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This study aims to describe: (1) the concepts and strategies of technology-based Arabic calligraphy learning in the Online Khat Learning community, and (2) students' opinions on learning Arabic calligraphy in this community. This research is a qualitative descriptive study. Data collection techniques are observation, interview, and documentation. Data analysis techniques are qualitative data analysis techniques in data reduction, data presentation, and conclusions. The results showed that: (1) the concept of Arabic calligraphy learning in the Online Khat Learning community was adapted from the Hamidy method, which consists of imitation (taqlidiyyah), stabilization exams, in-depth mastery, tamrin, and ijazah. Technology-based Arabic calligraphy learning in the Online Khat Learning community, in general, uses WhatsApp and email media. It can be seen in the following steps: (a) preparation, (b) material explanation, the material can be in the form of videos, pictures, and explanations shared in the WhatsApp group, (c) questions and answers, (d) students write and send their works to the teacher's email, (e) the teacher provides feedback via email to each student. Because each student's abilities are different, the teaching material at each meeting is different from one student to another. (2) Students think that this community is outstanding because it is an alternative for learning Arabic calligraphy online in a new era that does not allow face-to-face learning. They are happy to study in this community because, in addition to getting Arabic calligraphy material, they also get material on motivation and values to form a robust Islamic calligrapher character.

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Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art

Cited by 5 publications

References 5 publications

History of Islamic Calligraphy in the Ottoman Empire

History of Islamic Calligraphy in the Ottoman Empire

Between Ethics and Aesthetics: A Curation Method for Contemporary Islamic Paintings in Indonesia

Technology-Based Arabic Calligraphy Learning in a New Era

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